The Prehistoric Rock Art of Kilmartin by Stan Beckensall
Kilmartin House Trust. 2005. 144 pages, 198 figures. ISBN 0-9533674-2-8. (£12.99)
The serious study of prehistoric rock art is one of the fastest growing and
arguably one of the most fascinating parts of archaeology: as Bradley has
observed, carved rocks represent some of the earliest attempts in the UK at any
form of open-air ‘sculpture’ or ‘art’ (for want of a better term),
notwithstanding the recent remarkable discoveries at Creswell Crags and
Cheddar. The work of dedicated amateurs in particular has totally transformed
the subject over the last twenty-five years or so. Foremost among these has
been Stan Beckensall. With a well-established national reputation, Beckensall,
a retired Northumbrian headmaster and writer, is generally acknowledged as the
foremost amateur authority on the prehistoric rock art of the United Kingdom.
He has spent over half a lifetime discovering, documenting and explaining these
enigmatic reminders of our Late Neolithic/Early Bronze Age past with great
success to both the general public and the professional archaeological
community. This has been accompanied by a stream of good regular publications
on the subject, covering most parts of the United Kingdom where such rock art
is found, and this latest offering on the prehistoric rock art of the Kilmartin
Valley in Argyll, Scotland, is no exception.
The book opens with a preface by Christopher Chippindale, curator of the Museum
of Archaeology & Anthropology at the University of Cambridge and himself
the author of a number of books on prehistoric rock art and its significance,
which neatly sets the scene for the reader by defining in broad terms what
prehistoric rock art is and describing the Kilmartin landscape where it is
found.
The Kilmartin Valley and its immediate environs in southern Argyll is
extraordinary for its concentration and variety of spectacular prehistoric
sites in one region, including the Nether Largie cairns, the Ballymeanoch
complex (cairns, standing stones, carved rocks and a henge), the Temple Wood
complex (stone circles, carved rocks and cists), and the stunning rock art at
Achnabreck – simply the largest piece of decorated outcrop in the British
Isles. These sites were first systematically brought to the public’s attention
by the pioneering work of Ronald Morris, a retired Glasgow solicitor, with
publications of his own back in the 1960’s and Beckensall is quick to
acknowledge his debt to him. What Beckensall has been able to do is to revise
and enrich Morris’ original account, add freshly-discovered sites, and above
all to set them in their proper archaeological context in an attractive and
handy volume that brings them and our understanding of them bang up-to-date.
Whether you define a site as a location where several carved rocks are found,
or as each separate rock, the book describes well over 100 such ‘sites’ within
the greater Kilmartin Valley area - many of them published and described here
for the first time - stretching from Lochgilphead in the south, past Kilmichael
Glassary, through the Kilmartin Valley itself and on to sites at the western
end of Loch Awe. The sites are treated systematically area by area within the
larger Kilmartin Valley, each area meriting its own location map and chapter in
the text. Each chapter includes detailed information on how to locate each
site, accompanied by first-class colour photographs and black-and-white
illustrations by the author, as well as a valuable description of any nearby
sites such as cairns which help to set the site into its wider prehistoric
context. However, one problem found by this reviewer in attempting to link
individual sites from the location maps with the relevant text and
illustrations was the numbering system for sites established on the initial
location maps: e.g. Ford 1, Ford 2, etc., which was not always followed in the
text or with the illustrations. The book, too, would have benefited from a map
locating the Kilmartin Valley within either the UK or Scotland as a whole,
particularly for readers less familiar with the regional geography of Argyll.
However, having said that, the text is well supported by excellent location
maps in full colour produced by Roddy Regan.
As with all of Beckensall’s works, The Prehistoric Rock Art of Kilmartin
is written in a clear, direct, and friendly style which at once expresses both
the author’s passion for his subject and his intentions to the reader. The
book, therefore, is not intended as a major contribution to the academic debate
about the possible meanings to be ascribed to prehistoric rock art, rather it
is essentially a detailed gazetteer with a few relevant observations of the
author’s own on the rock art ‘debate’. Not surprisingly, in spite of the
excellence of much of the work in discovering and recording the many thousands
of rock art panels in the UK, the chief criticism of amateur work has been the
reluctance to offer up convincing theories as to their meaning for prehistoric
people. Unlike the more familiar cave art from the Palaeolithic or the
contemporary rock art from parts of Scandinavia that clearly depicts boats, UK
prehistoric rock art for the greater part consists of entirely abstract motifs
and this has made them especially difficult in the past to interpret.
Traditionally, therefore, the search for the ‘meaning’ of rock art occupied
itself with attempts to interpret the symbols themselves, following on from the
suggestions first made by Abbé Breuil in the 1930’s. More recently, identified
in particular with the published work of Richard Bradley and others on the
subject, there has been a shift towards explanations in terms of their broader
cultural context and especially in terms of their place in the prehistoric
landscape. Beckensall consistently has always been wary of accepting such
theories uncritically and has been careful to distinguish between fact and
speculation, however persuasive. Thus it is that following on from the purely
factual gazetteer of sites, he includes a lengthy chapter on the significance
of rock art. This ends with a revealing section headed Coping with theories: a
warning. Dealing with the all-important and vexed question of what all this
rock art ‘means’, it focuses on one of the more recent theories that marks a
return to attempt to understand the origins and purposes of the symbols
themselves: the possibility that the motifs in rock art have their origin in
trance-induced entoptic images (i.e. produced by the internal action of the
nervous system itself in the eye). With his characteristic honesty and
directness, Beckensall admits that the question, like so many of the theories
devised to ‘explain’ rock art, while persuasive, remains unproven. While it may
be frustrating to some readers that Beckensall refuses to reach any firm
conclusions, he still leaves the reader with plenty to think about. In the
study of British prehistoric rock art, intriguingly, there are still more
questions than answers. Appropriately, the final chapter deals with the future
of rock art studies: with the recording, vulnerability, conservation and
management of so many all-too fragile rock art sites – each and every one a
unique part of the archaeological record and a celebration of the landscape.
The book finishes with a short but useful bibliography listing the more
prominent and contemporary publications on prehistoric rock art, as well as
advice on where to find the more academic offerings. However, the section
dealing with journals would have been easier to read if an explanation of the
abbreviations for journals used had been given first. It is a great pity, too,
that the book lacks an index.
Sadly, for a book of this otherwise high quality, there are rather too many
typographical errors which should really have been picked up at the
proof-reading stage, as well as a slightly confusing layout at times.
Accordingly, the book includes an erratum to guide the reader through the more
glaring errors. To deal with the more prominent examples: on the location map
on p. 34, Site 1 Torradh na Fienne is identified as Torradh na Feinne in the
text (p. 35), Site 5 Carnbaan is Carn Ban (p. 38) and the site simply
identified as Dunamuck (Site 8) is Dunamuck 1 in the text (p. 44), while
Dunamuck 5 and Dunamuck 6 are completely missing from the map. In Fig 49 (p.
38), the Ballymeanoch stones have been left unidentified. Kilmichael Glassary 1
is identified in the text (p. 51) as per the location map on page 50 but not
Kilmichael Glassary 2. The site at Meall a’Bhraithain (p. 63) is Meall a
Braithain on the location map (p. 57). Figures 95 (p. 67) and 97 (p. 68) are
repeats of each other, while Simpson’s illustration of the Ballymeanoch stones
(p. 89) has no figure number. On the location map on page104, Torran 3 is
missing, Site 9 should be Ford 6 and I could find no information in the text on
either site 27 at Glennan or site 28 at Tigh a’Charman. Finally, and more
seriously, for some reason, in the reviewer’s copy, every instance of the
letters “fi” and “fl” has been transposed with the letters “ö” and “u’” between
pages 128-138, e.g. “ögurative” for “figurative” (p. 131) and “inu’ence” for
“influence” (p. 136).
A few minor points of layout: the illustration of the Torbhlaran outcrop comes
in the text after the Torbhlaran standing stone (p. 56), when the
relevant text and map it comes before it. Simpson’s illustration of
the Ballymeanoch stones comes at the end of the section on Temple Wood, when it
would perhaps have been better placed (for comparison) alongside the author’s
own fine illustrations of the same (Fig. 121, p. 82).
The book is very reasonably priced, softback and comes at a handy size for
carrying into the field: 16.5mm x 23.5mm. Whatever the book’s shortcomings, it
at least stands as an important record of the prehistoric rock art of the area
– a sufficiently important task in itself. On balance, in spite of the problems
with typography and layout, the book is an attractive and worthy contribution
to our published knowledge of UK prehistoric rock art and as such is to be
welcomed both for the general public and as an essential addition to the
library of any serious scholar of the subject.
K. Boughey
Review Submitted: October 2005
The views expressed in
this review are not necessarily those of the Society or the Reviews
Editor.
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